Amy Lou Jennings

Mentee | Emerging Plein Air Painter

Amy joined my mentorship programme in 2023 with a strong passion for design and a love of exploring the world from unusual perspectives. Through disciplined plein air training and my tailored guidance, she has steadily built her technical foundation and confidence outdoors and in the studio.

Her dedication and willingness to push her limits have already led to her first solo exhibition, Lights On in London, and inclusion in respected group shows such as the Chelsea Art Society Annual Exhibition.

Amy’s work reflects an adventurous spirit and a growing command of light and atmosphere — qualities she continues to refine through ongoing practice and close mentorship.

Interview

1. From Code to Canvas: A Life Transformed

Q: You spent years as a software developer. What first drew you to painting, and what made you take it seriously?

A: If you take my career, most of it was spent as a digital artist working in games and other digital graphical media. However, true, the last 12 years I did migrate to programming within the games and 3D media arenas. I trained as a graphic artist to HND level when I was in my early twenties, and the creative lust has stayed with me most of my life. At that time, following a fine art career was a hard path to follow, and in hindsight, I always wished I had been brave enough to do so at that time.

Several years ago, a friend and I decided to take up en plein air painting as a hobby, but I struggled with missing a formal fine art background as well as all the years of experience needed, so results were not that good, which was quite demoralising. Two years ago, my circumstances changed, and I decided this was the opportunity to seriously follow that old passion. My parents died and left me a sum of money, which I decided to invest in getting training to improve my technique.

At that point, my goal wasn’t to become a professional fine artist—I simply wanted to complete a painting competently. But as soon as I started working with Natalia, my entire outlook changed. The way she structured my learning, the intensity of her method, and her ability to guide me towards artistic clarity made me see possibilities I hadn’t even considered before. Very quickly, painting became not just something I wanted to do well, but something I needed to master.

Q: How did it feel to go from a highly logical, structured profession to something as expressive and intuitive as painting?

A: I think my background as a digital artist made me less logical and structured as a programmer, so I was never a natural at it. My talents were firmly in innovation, designing, and creating new 3D products. Even so, it was a struggle at first to extract myself from that mindset and move toward a freer, more instinctive, and emotional approach to painting. It took a lot of practice, and it probably slowed my transition, but having Natalia as my mentor made all the difference.

Her approach is not just about technique—it’s about shifting perception. She guides you toward seeing beyond the surface of things, teaching you how to translate what you feel into paint. That’s not something that comes naturally to everyone, but she has a way of unlocking it.

Q: Was there a defining moment when you realised, “I am an artist now”?

A: I’m not sure I fully believe I am an artist yet. I often feel like an imposter, especially among other artists. But there are milestones that have helped diminish that feeling—like being exhibited at Chelsea Art Society in 2024.

What has truly changed is that I no longer question whether I can do this. Natalia has a way of introducing the right challenges at exactly the right time. Because of that, I no longer feel lost in my progress. I know I will get there.

2. The Power of Mentorship

Q: How did you meet Natalia, and what made you decide to train under her?

A: Kismet, the stars aligned. I had been painting in the ROI Paint Live event a couple of years back and had produced a particularly poor painting. It was a very cold December day, and I was warming up in the café at Mall Galleries when one of her students sat next to me.

Natalia came to talk to her student, and from their conversation, I worked out that she was teaching her. I had been considering applying to go back to art college, but in a flash of inspiration, I decided to approach her and ask if she would consider teaching me. I was so excited when she agreed, and after just a few lessons, I knew this was serious—I knew this was going to work.

What she saw in me, I will never know. But she stuck with me, and somehow, she knew exactly how to guide me all the way.

Q: Natalia’s methods are unconventional and bespoke. Can you describe one of the most surprising or eye-opening exercises she introduced you to?

A: There are many, but a few that come to mind are sketching from the front seat of the DLR on its way to Greenwich and on the London Eye. Also, speed painting—knocking off a view every 10 minutes. It’s so challenging and completely outside anyone’s comfort zone. That day on the DLR, I did 164 drawings. I still can’t believe it.

That’s the thing about her methods. They’re not about ticking boxes or following a rigid curriculum. They’re designed to challenge the way you see, think, and process the world around you.

Q: How has working with Natalia changed your perception of art, creativity, and yourself?

A: Natalia isn’t just an art teacher. I liken her more to an Olympic coach training a competitive athlete—she looks after every aspect of your artistic development. She doesn’t just teach technique; she teaches perception, discipline, and resilience.

Her methods don’t allow for shortcuts, but they create real transformation. Working with her has changed me profoundly—not just as an artist, but as a person.

Q: Before meeting Natalia, did you ever imagine you’d have a solo exhibition in London?

A: Never in a million years. But when Natalia thought I was ready, she raised it as an option—just as she did when she helped me get my work exhibited in a major London society. She knows exactly when you’re ready for the next step, and she will push you forward only when it’s the right time.

That kind of insight is rare, and I trust her judgement completely.

Q: If you had to sum up Natalia’s mentorship in three words, what would they be?

A: Trust her implicitly.

3. Mastering Painting in Two Years

Q: Many people believe it takes decades to become a professional artist. What do you think allowed you to reach this level in just two years?

A: Intensive coaching and mentorship covering every aspect of the journey. In two years, I have produced nearly 400 paintings and a similar amount of drawings. But quantity alone isn’t what made the difference—it was the right kind of training.

Without Natalia guiding me, correcting every mistake, and ensuring I was focusing on the right things at the right time, I would never have made this kind of progress.

Q: What were the biggest challenges you faced on this journey? Were there moments of doubt?

A: I’ve had many doubts. Natalia’s methods don’t come with empty praise, so there were times when I felt like I was failing. But she always knew exactly when to intervene, when to push, and when to let me figure things out on my own.

I learned to trust the process. That made all the difference.

Q: How do you think Natalia’s methods could change the way people learn art?

A: She doesn’t teach in a one-size-fits-all way. Every student receives a unique approach tailored to their experience, goals, and even their emotional and mental barriers.

She doesn’t just teach you how to paint—she teaches you how to become an artist. That’s the real difference.